The Shift That Struck Back S
by Rhea's Teleplays
Summary: Greg has the worst shift in CSI history. Nick helps a sexual assault victim and gets a little too close to her.
1. Teaser

CSI: CRIME SCENE INVESTIGATION

The Shift That Struck Back

TEASER

FADE IN:

EXT. LAS VEGAS CITY (STOCK) - NIGHT

To establish.

INT. CSI VEHICLE - NIGHT

**LANGSTON** and **NICK** are riding together. Nick hums to the song on the radio. He has his clipboard on his lap and maneuvers a flashlight to finish his notes from their last call. Langston is driving, but his mind is somewhere else.

NICK  
It's not even a full moon. I can't  
believe how busy we've been tonight.

Langston doesn't comment. Nick looks up at him.

NICK  
Hey Ray...

Langston glances at him.

NICK  
Are you okay? You've been real  
quiet all night.

Langston starts to answer as he turns a corner. His answer becomes lost when they come into a street filled with media. Police cars, emergency response vehicles, and unmarked cars.

A police officer spots them. He and several others push back the crowd to make a path.

NICK  
What is this?

Langston parks where the policeman indicates. He grabs Nick's arm before he gets out.

LANGSTON  
Don't talk to anyone until we know  
what's going on.

Nick nods.

EXT. CITY STREET - NIGHT

The two get out, grab their field kits, and head inside. Both notice that many of the people are wearing jackets with FBI or DEA on them.

INT. MASON'S HOUSE - LIVING ROOM - NIGHT

Inside the madness continues. There's a lot of talking and people calling out orders. FBI agents are snapping off photos. DEA agents are picking and handling potential evidence. Langston grabs the arm of one.

LANGSTON  
That's evidence. Where is your superior?

AGENT HOPKINS (O.S.)  
Who are you?

The two turn, watching **DEA AGENT HOPKINS** stride up to them. This woman is used to having her orders carried out immediately. She's not someone her underlings dare to make question. Langston shows his badge.

LANGSTON  
We're from the Las Vegas Crime Lab.  
We were called to this scene for a  
homicide and sexual assault.

**BRASS** approaches unnoticed.

AGENT HOPKINS  
Uh-uh. Get out. We don't need you  
guys here.

BRASS  
Yes we do.

The three turn to him.

AGENT HOPKINS  
We have jurisdiction.

BRASS  
Until you present me with a piece  
of paper telling me that, LVPD has  
jurisdiction.

Brass moves around Nick and Langston, drawing Hopkin's eyes away from the two.

BRASS  
And until then, this is my crime  
scene. So, tell me lady--

AGENT HOPKINS  
Agent Hopkins, Lieutenant!

BRASS  
Right. I'm so bad with names. What  
can you tell me about the body in  
the kitchen and the woman who's  
barricaded herself in the master bathroom?

Brass glances at Langston. He's told them where he wants them to start. Langston starts walking and Nick follows. They make their way to the kitchen. No one's in it, but there's a dead man on the floor and a lot of blood. Langston looks down the hall, seeing even more blood.

LANGSTON  
You start in the kitchen. I'll see  
what else is available to process.

Nick nods. He sets his kit down, taking out paper booties and gloves.

INT. MASON'S HOUSE - HALL - NIGHT

Langston makes his way down the hall to the bedroom. He passes two open folding chairs. There are four FBI agents and two DEA agents in the room. **AGENT SCOTT** of the FBI leans against the door of the master bathroom.

AGENT SCOTT  
Come on, Mason, open the door. Please?

Langston watches the scene for a few seconds.

AGENT SCOTT  
Mason? Answer me, will you? Please,  
just let us help you. I know you're  
hurt, I know the guy did a number  
on you, but we want to help you.  
Please open the door.

Langston turns and goes back down the hall to the first door. He opens it, revealing the hall bathroom splattered with blood. He sets his kit down and pulls out paper boots and gloves. Langston goes in as Brass comes down the hall. Brass stops in the doorway.

BRASS  
You and Nick gotta work fast.

Langston looks up at him.

LANGSTON  
You know we can't do that.

BRASS  
That witch is off to her favorite  
judge to get a court order. If you  
can't get all your evidence before  
she gets back, you won't get any.

Langston looks around the bathroom.

LANGSTON  
Puts a new meaning to time  
sensitive, doesn't it?

Brass offers a wistful smile.

SMASH CUT:

OPENING CREDITS.

FADE OUT.

END OF TEASER


	2. Chapter 1

ACT ONE

FADE IN:

EXT. UNIVERSE

Fate is about to reveal her twisted sense of humor. A light speed trip past Mercury, Mars, and the Moon, slowing as Japan appears through the clouds. Daylight has just touched this side of Earth.

But on the opposite side, over the United States, night fell over New York. Miami. Austin. Santa Fe. Phoenix. And...

EXT. LAS VEGAS CITY (STOCK) - NIGHT

To establish.

EXT. 42 A. DENT STREET - NIGHT

A CSI vehicle pulls up behind four squad cars. **GREG** and **CATHERINE** get out, heading inside. Greg pulls his camera strap over his head, letting it rest on his chest.

**OFFICER MUELLER** stands at the door, watching the commotion inside. From the street, they can see police inside that are trying to calm a man down so they can question him. The two walk up the steps, stopping behind the officer. In a chair near the door, sits a beaten and bloody woman.

CATHERINE  
Should we wait outside?

Officer Mueller turns to them.

OFFICER MUELLER  
Probably better. When the woman was  
still talking to us, she said her  
husband went outside with a gun and  
when he came back in, he didn't  
have it.

CATHERINE  
We'll start on the perimeter then.

The two walked back down the stairs.

CATHERINE  
I'll take the right side of  
the sidewalk if you want to  
take the left.

Greg nods, pulling his flashlight from his vest pocket. The two start across the lawn in search of the weapon. He reaches the driveway and in the thorny bushes separating the neighboring yard, he sees the gun.

GREG  
Got it, Catherine.

Greg puts the flashlight in his mouth to pull on rubber gloves. He turns when the yelling inside escalates. Catherine stops on her way over to him, staring inside. Officer Mueller burst out the door pulling the woman.

Greg hears a car door slam in the garage and looks at it just as a pickup with wide side mirrors comes crashing through the garage door.

CATHERINE  
GREG!

He jumps back against the bushes. The thorns cut up his arms and several lodge into his clothes. He isn't back far enough and the side mirror slams into his cheek. The blow spins him around and as he falls, the strap of his camera catches on the tailgate.

GREG  
CAT--

Greg's call for help is cut off as he's yanked down the driveway after the pickup.

EXT. A. DENT STREET - NIGHT

He grabs the strap, trying to pull free as it slowly strangles him. The pickup flies around a corner and a sharp edge of the tailgate slices through the strap. Greg rolls out into the street, right in front of an oncoming van.

MATCH CUT.

EXT. 42 A. DENT STREET - NIGHT

Catherine watches in horror as Greg is yanked off his feet. She runs out into the street after him.

INT. VAN - NIGHT

The van has six high school-age passengers. They are dressed in old-school grunge, several with long hair, but overall good kids. Any laws they have ever broken have been minor and inconsequential.

The driver, **BLAR VERSENWALD**, starts to swerve to miss the oncoming pickup. Then sees Greg rolling toward him and slams on the brakes.

EXT. A. DENT STREET - NIGHT

Catherine slows to a stop. It's a train wreck -- she can't look away. The van's tires squeal loudly as the driver tries to get it stopped fast enough. The smoke of burning rubber engulfs the van and Greg.

When everything stops moving, Catherine runs toward the cloud of quickly clearing smoke.

CATHERINE  
GREG!

EXT. A. DENT STREET - NIGHT

Petrified, Greg stares at the tire an inch from his nose. Slowly he falls onto his back, and as the smoke clears, he sees a sky full of stars. Six teenage boys lean in, shattering the serene view.

BLAR VERSENWALD  
Dude! You almost died! I mean, two  
seconds more and you would have  
been road kill!

GREG  
(pained)  
I hadn't noticed, dude.

Slightly winded, Catherine pushes through the boys.

CATHERINE  
Greg, are you okay?

GREG  
Oh yeah. I just have road rash up  
my back. My face feels like someone  
took a baseball bat to it. And--

BLAR VERSENWALD  
Looks it too. Did they? There's a  
cop over here if you need him.

GREG  
Thanks. No. And my camera is busted.

He holds up the mangled piece of metal and plastic that drip out of his hands.

BLAR VERSENWALD  
Wow! I guess you'll need a new camera.

GREG  
Really?

Catherine tries not to laugh.

CATHERINE  
Which of you boys was driving?

Blar waves his hand.

CATHERINE  
That was good driving. You thought fast.

Blar beams at her.

BLAR VERSENWALD  
Hey! Thanks, lady!

Catherine smiles, holding her hand out to Greg.

CATHERINE  
Would you like to get out of the  
middle of the street now?

GREG  
No. I thought I'd lay here and  
enjoy the rocks that have embedded  
in my elbow and back.

She grabs his hand and helps him to his feet.

CATHERINE  
Let's get you to the hospital and  
have 'em pick them out.

Behind him Blar picks up Greg's badge, looking it over.

BLAR VERSENWALD  
Are you a cop, man?

GREG  
CSI.

Blar hands over the badge.

GREG  
Thanks for not hitting me.

BLAR VERSENWALD  
Oh no problem, dude. It was my  
pleasure to not have hit you.

The two CSI chuckle as they start slowly toward their vehicle. Catherine motions one of the policemen over.

CATHERINE  
Secure the area. We'll be back.

He nods and the two continue toward their vehicle. Catherine starts brushing him off.

GREG  
OW! Ow! Don't touch. No touchy.  
No touchy.

She starts to chuckle. For now, he finds humor in his situation too.

INT. MASON'S HOUSE - HALL - NIGHT

Nick and Langston sit in the folding chairs in the hall, waiting to continue processing occupied areas.

Agent Scott is the only person left in the bedroom. The rest of the DEA and FBI agents wait in the living room. Agent Scott leaves the room and joins the other agents.

Langston and Nick pay close attention to what is happening and said.

AGENT SCOTT  
Okay. I'm done with this. Call SWAT  
and get us a battering ram. We're  
busting that door down and taking  
her out of here.

Nick looks at the bathroom door, then back at Agent Scott. He is engrossed in the conversation with the other agents. He looks at Langston. He's paying attention to them. Nick gets up and heads toward the door. Time for a little Stokes Charm.

INT. MASON'S HOUSE - MASTER BEDROOM - NIGHT

Nick passes a paramedic bag sitting on the bed. He stops at the bathroom door, thinking about how to go about this.

He starts patting his pockets and from his vest pocket, pulls out a business card. He crouches down and slides the card under so half is on either side of the door.

NICK  
Hey, Mason. My name's Nick Stokes.  
I'm with the Las Vegas Crime Lab. I  
don't know you, but, uhm, there's a  
lot of blood out here and I'm pretty  
sure it's not all your boyfriend's.  
You've been in there for a while,  
and I'm starting to worry that  
you're not okay.

INT. MASON'S HOUSE - HALL - NIGHT

Langston turns to speak to Nick and discover he's missing. He looks up, seeing him at the bathroom door. Langston gets up and walks to the bedroom door, leaning on the frame while he listens.

NICK  
See my business card? Could you  
come take it so I know you're  
alive? Otherwise I'm going to bash  
this door down.

INT. MASON'S HOUSE - MASTER BEDROOM - NIGHT

Nick sees a shadow pass under the door before the card disappears. He smiles, pushing his hand against the door.

NICK  
(softly)  
That's a girl. Thank you.  
(raises his voice)  
What happened to you tonight would  
screw with anyone's mind. I've seen  
enough of the aftermath to know. It  
may not seem like it right now, but  
you're really lucky. Most of the  
time when I arrive, the other women,  
they're... Not so lucky. I've never  
been where you're at right now, but  
I've been someplace close. This one  
time this guy kidnapped me and buried  
me alive. A day doesn't go by that  
I don't think about it, and how  
lucky I was to survive. Just  
like you.

The memory affects Nick, but he keeps it together. **MASON'S** voice comes from the other side of the door, soft and muffled.

MASON (O.S.)  
Why?

NICK  
What?

MASON (O.S.)  
Why'd the guy do that to you?

NICK  
He, uh... He believed his daughter  
was wrongfully imprisoned.

MASON (O.S.)  
Did you get her arrested?

NICK  
Naw. No. It was just a broad  
sweeping move. I just happened  
to be in the wrong spot at  
the wrong time.

MASON (O.S.)  
How long were you buried?

NICK  
Twelve hours.

She doesn't speak right away. Nick is patient and waits.

MASON  
(crying)  
I never saw the guy coming. One  
minute we were getting ready for  
bed, the next... I was thinking I  
hadn't seen Barbados.

Nick doesn't understand the reference. It concerns him.

NICK  
Are you hurt badly?

She doesn't answer.

NICK  
I take that's a yes.

MASON (O.S.)  
(almost inaudible)  
Yes.

AGENT HOPKINS  
GET OUT OF THERE!

Nick turns. Agents Hopkins and Scott are storming down the hall toward him.

The CSI lock eyes. Nick knows he can get her out, but he needs time. As if Langston reads his mind, he turns and slams the door shut. Outside yelling ensues -- although Langston's voice isn't among them.

NICK  
I really hate that woman.

MASON (O.S.)  
Who?

NICK  
That DEA agent. She's kinda bossy  
and loud mouthed.

MASON (O.S.)  
I hate her.

NICK  
I can see why. But my boss cut her  
off at the pass for a little bit.

MASON (O.S.)  
I don't feel good.

NICK  
How do you mean?

MASON (O.S.)  
I feel weak.

NICK  
You've lost a lot of blood,  
haven't you?

MASON (O.S.)  
Yeah.

Nick looks at the paramedic bag.

NICK  
I know we just met, and I'm sorry  
if this seems pushy, but I'm  
begging you, let me come in and  
help you. There's a paramedic kit  
out here. At least let me come in  
and patch you. After that, if you  
wanna kick me out again, you can.

MASON (O.S.)  
Only you.

NICK  
Only me.

The door lock clicks and the door opens a crack. Nick grabs the paramedic bag just as the bedroom door bursts open.

Nick dashes through the bathroom door and turns, seeing the FBI agents rushing toward him. One has Langston pinned to the wall with a gun in his face.

INT. MASON'S HOUSE - MASTER BATHROOM - NIGHT

He slips on the bloody floor, but manages to get the door shut and locked as an agent slams into it with his body.

AGENT HOPKINS (O.S.)  
OPEN THIS DAMN DOOR!

NICK  
Not until Mason wants me too! Just  
calm down, alright?

AGENT HOPKINS (O.S.)  
I AM GOING TO HAVE YOUR BADGE!

NICK  
I'm a CSI, you idiot! I don't have  
a badge!

AGENT HOPKINS (O.S.)  
THEN I'LL HAVE YOUR JOB.

Nick smiles at Langston's response.

GRISSOM (O.S.)  
He's my CSI. You can't fire him.

NICK  
(quietly)  
Damn straight, Langston.

He turns and is shocked by what he sees. The bathroom has blood all over it. Mason stands in the corner shaking. She's a waif of a woman in her early 30's. There's no way to tell if her hair really is red or if it's blood. She wears a blood soaked silk robe.

Nick offers her a smile, but she doesn't return it. He walks over to the sink and sets the paramedic bag on it.

NICK  
You wanna sit down on the toilet or  
the tub edge?

Mason slowly makes her way over to the toilet and sits down. Nick digs out supplies: compression pads, tape, rolls of gauze and a bottle of sterile water. He sits down on the tub edge and wets one of the compression pads.

He reaches up to start cleaning a cut on her face and she ducks his hand, staring wild eyed at it. Nick holds still, his patience unwavering. She slowly moves back and he works in silence. She twines her robe sash through her hands while he works.

MASON  
(quietly)  
Were you scared?

NICK  
When?

MASON  
When you were buried alive?

Nick lowers his hand, looking in her eyes. He tears up a little, but nods.

NICK  
(broken)  
Damn near lost my mind.

She starts crying. He looks around and spots a washcloth on the shower knob. He grabs it and hands it to her.

NICK  
Better stop those before they get  
in these cuts. The salt will burn.

She takes it with a slight smile, wiping her tears. Nick returns the smile, going back to work on her injuries.

FADE OUT.

END OF ACT ONE


	3. Chapter 2

ACT TWO

FADE IN:

EXT. UNIVERSE

The universe is plotting. Zoom in from the universe, to Las Vegas, where a normally quiet suburban street is brimming with activity.

EXT. 42 T. MCMILLAN PLACE - NIGHT

Greg and **RILEY** have just arrived. Greg's now has an unsightly bruise along his face, his eye has puffed up, and his arms are covered with road rash.

In front of them an officer stands next to a squad car with the suspect in the back. He watches the two approach the house, staring at Greg's obvious injuries.

INT. 42 T. MCMILLAN PLACE - FOYER - NIGHT

**DAVID** kneels next to the body in the foyer. Off the foyer, two officers have split up the three witnesses and are interviewing them.

**OFFICER GALLUMBITS** turns when the two walk up and openly stares at Greg. Riley almost starts laughing but manages to get it under control.

RILEY  
What do we have?

David turns to answer and stares at Greg. Rile clears her throat, trying really hard not to laugh.

GREG  
The truck won. Okay? Can we talk  
about crime scenes now?

David turns away with a smile. Officer Gallumbits snorts back a laugh.

DAVID  
(strained)  
Looks like a gunshot to the temple  
and another to the back. There are  
no exit wounds.

OFFICER GALUMBITS  
We have the suspect in custody, and  
three witnesses.

RILEY  
You want the suspect?

GREG  
Sure.

Greg heads out to the squad car. **OFFICER MARVIN**, recently transferred from his native Williston, Minnesota, stares at Greg as he approaches.

GREG  
I'm going to need to test his hands  
for GSR. Can you pull him out?

Greg puts his kit on the trunk and pulls on gloves. He starts preparing an applicator for the GSR test. Officer Marvin doesn't get the suspect out.

OFFICER MARVIN  
Who gave you that there shiner?

GREG  
A pickup.

OFFICER MARVIN  
You were hit by a truck, aye?

GREG  
No. Just the mirror.

OFFICER MARVIN  
Tonight?

GREG  
Yeah. Could you please--

OFFICER MARVIN  
Guess the universe got a little  
grouchy with ya, yeah?

Greg has a job to do and he doesn't want to talk about his incident.

GREG  
You won't need to take off his  
handcuffs, but I need him out  
here. Do you mind?

OFFICER MARVIN  
Sure.

Officer Marvin pulls the **SUSPECT** from the car. Inside Greg can hear a woman start yelling. The three look up and can see a witness at the large bay window, pointing at the suspect and yelling at the officer that's trying to calm her.

Greg turns back to his job. He dabs the man's hands, caps it and gives it a shake. The applicator turns pink.

SUSPECT  
What does that mean?

Inside they hear a door slam. The officer turns his attention to the house. He takes a step toward the house, but stops. He knows he can't leave the CSI with the suspect. He lifts his shoulder mic to his lips.

OFFICER MARVIN  
Dan, what's going on in there?

No one answers.

GREG  
I can't talk about evidence at--

The witness comes around the house with a pistol aimed at the suspect. Officer Marvin spins as she fires, grabs both Greg and the suspect, and pulls them to the ground.

Greg's hand closes around the applicator as his wrist hits the curb. Suddenly he screams, forgetting the GSR applicator as he slaps a hand down to his butt. Greg rolls onto his side, still holding his butt.

GREG  
SON OF A-- AHHH!

Riley runs up to him.

RILEY  
Greg! Were you hit? Where? Show  
me where.

GREG  
MY ASS!

Riley is confused. She looks down at Greg's hand and sees blood. Riley pulls Greg's hand away to find blood coming from Greg's right butt cheek. She looks up at Greg, caught somewhere between concern and the humor of the situation.

RILEY  
Uh... We... Let's get you back to  
the hospital.

Riley helps Greg to his feet. She turns to Officer Marvin who's putting the suspect back in the car and has his face turned away from the two.

RILEY  
I'll be back as soon as I can.  
Or... Someone will be. Secure  
the scene.

Officer Marvin turns, slamming the door. His face is red from holding in his laughter. He can only nod. Riley quickly looks away before she starts laughing. She helps Greg into the CSI vehicle before walking around to climb into the driver's seat.

INT. CSI VEHICLE - NIGHT

Riley snorts and clears his throat.

GREG  
Don't you dare.

A soft chuckle escapes.

GREG  
Riley Adams, this is not funny!

She can't contain it anymore.

GREG  
I hate you.

That only makes her laugh harder.

INT. MASON'S HOUSE - MASTER BATHROOM - NIGHT

Nick leans on the windowsill, staring at the leafy bush outside. Behind him, Mason changes, putting her bloody robe and nightgown into evidence bags.

MASON  
I'm done.

Nick turns. Even in baggy sweats and sweatshirt, Mason looks better now that she's been cleaned up some. Nick walks up to her with a smile.

NICK  
Feel better?

She nods.

NICK  
Good. Let's get you to the hospital  
to make sure, okay?

She nods again. He picks up the evidence bags and reaches for the door. She latches onto his arm, pulling close. Nick opens the door as he slides his arm around her shoulders.

Outside the bathroom, they're faced with Langston, Brass, FBI and DEA agents and policemen. Mason turns into Nick, pressing her cheek against his shirt. Nick hands the bags to Langston and the two walk through the crowd.

INT. MASON'S HOUSE - LIVING ROOM - NIGHT

A policeman opens the front door and media press in, camera flashes go off, and reporters barrage the officer with questions. Mason freezes. Nick looks at her face and he knows what's wrong.

NICK  
Mason, no. It's okay.

She suddenly turns on him, hitting and clawing. He's forced to let her go. She runs for the bathroom with Nick right behind.

INT. MASON'S HOUSE - MASTER BEDROOM - NIGHT

Mason runs around the bed. Nick leaps onto it but he's not fast enough and hits the door as she slams it shuts. The click of the lock sounds like a gun going off to him. He screwed up and he knows it.

AGENT HOPKINS  
You were supposed to get her out of  
the house, Stokes!

He spins around to face Agent Hopkins.

NICK  
She didn't feel like being on the  
morning news!

AGENT HOPKINS  
We can't help that. She has to  
leave here.

NICK  
Then get rid of the press!

AGENT HOPKINS  
Even I can't do that.

NICK  
(sarcastic)  
There are things you can't control?

Agent Hopkins steps close, sticking her finger in his face.

AGENT HOPKINS  
I may not be able to get you fired,  
but I can make your life miserable.

Nick doesn't get a chance to respond. Langston steps in between them, forcing Agent Hopkins to step back.

LANGSTON  
Look, this is just a setback, Agent  
Hopkins. We just need to give him a  
little more time to--

AGENT HOPKINS  
He's had time. He failed. Now we're  
going to take her out of here in  
handcuffs if we have to!

NICK  
Over my dead body.

AGENT HOPKINS  
That can be arranged.

NICK  
Are you threatening me?

LANGSTON  
Agent Hopkins, did any of your  
people get her to let them in?

Agent Hopkins doesn't answer.

LANGSTON  
So, you would say he did get  
further here, right?

She doesn't agree or disagree.

LANGSTON  
And now, Nick is going to figure  
out a way to get her out of here  
in the next ten minutes. Aren't  
you Nick?

NICK  
What!?

LANGSTON  
Aren't you Nick?

Nick is staggered by the remark.

AGENT HOPKINS  
Starting now.

LANGSTON  
No. Starting from when she lets him  
back in. He can't do anything if  
she won't trust him.

AGENT HOPKINS  
So really, it's thirty minutes.

LANGSTON  
You don't know Nick. Now if you'll  
leave the room, and take your  
agents with you, I think we can  
make this move along faster.

Agent Hopkins backs down.

AGENT HOPKINS  
Clear out of here.

They leave and only Langston, Nick and Brass are left. Langston pulls his phone off his belt, turning to Nick.

LANGSTON  
Get back in there. Tell her we'll  
get her out in a body bag.

Langston dials a number. Nick is confused.

NICK  
You want to kill her?

LANGSTON  
No.  
(to phone)  
David? I need you to bring a clean  
body bag, a gurney, and meet us at  
our location in ten minutes.

Nick suddenly understands. He turns back to the door, patting it with his hand.

NICK  
Mason?

She doesn't answer.

NICK  
Mason, I know I just screwed up big  
time. I'm sorry. More than you'll  
know. But we have an idea about how  
to get you through the press. I need  
to talk to you about it. Please let  
me back in. Please trust me again.

The door unlocks and opens a crack. Nick slips in, locking it behind him.

INT. MASON'S HOUSE - MASTER BATHROOM - NIGHT

He turns and she falls into his arms crying. He holds her, stroking back her hair.

NICK  
It's going to be okay. It's  
okay, Mason.

INT. SUNRISE HOSPITAL - ER - EXAM ROOM B - NIGHT

Greg lies on his side. On the side he was shot, his pants are a little puffier. The curtain parts and Catherine stops inside the room. She crosses her arms, smiling.

GREG  
If you're here to laugh at  
me, leave.

CATHERINE  
Greg... Go home. You were shot. You  
can take the rest of the night off.

GREG  
No! We have a bunch of calls tonight.

She smiles, shaking her head.

GREG  
Stop laughing!

Her humor dissipates.

CATHERINE  
I know this is embarrassing, but--

GREG  
You weren't shot in the butt in  
front of other officers, your  
co-worker, and the world!

CATHERINE  
You're right. Which is why I think  
you should go home. The universe is  
trying to tell you to go home.

GREG  
No. What is taking Langston and Nick  
so long?

CATHERINE  
I don't know. Last I talked to  
Langston he said they were hung up  
at their second call. You know, Riley  
and I can handle the rest of  
the night.

GREG  
I am not going home because I got  
shot in my butt. I'm in pain,  
not crippled.

Catherine closes her eyes tight and fights against the laughter.

GREG  
Out! Get out!

CATHERINE  
Fine. If you're staying, I'm  
sending you and Riley on another  
call as soon as you're out of here.

GREG  
Whatever!

Catherine leaves the room.

INT. SUNRISE HOSPITAL - ER - WAITING ROOM - NIGHT

Riley wipes his eyes when she comes around the corner.

CATHERINE  
I think he wants you to wait.

She holds out a piece of paper. Something restarts Riley laughter. She takes the piece of paper, and laughing hard, leans over the arm of her chair into the next.

CATHERINE  
Riley, you have to stop! He was shot.

RILEY  
In the butt!

CATHERINE  
It's still being shot.

Riley falls back in his chair, howling with laughter.

CATHERINE  
You really need to be more  
professional about this.

Howling with laughter, Riley falls over the arm of the chair again. Catherine has to work to keep it together.

CATHERINE  
Did you document his injury? We're  
going to need it for that case.

Riley slides down in the chair, nodding. She can hardly be understood when she talks.

RILEY  
I can blackmail him now. Not only  
does he let it swing free under his  
pants, but there's not a tan line  
on him.

CATHERINE  
I really didn't need to know that.

Riley's laughter gets loud again.

CATHERINE  
Be nice to him. I think he's  
starting to lose his humor.

RILEY  
Getting shot in the ass does that  
to a person!

She walks away, starting to laugh herself.

Omitted

EXT. MASON'S HOUSE - NIGHT

The press moves in and starts shooting pictures when the front door opens. Police escort Langston, the gurney, and David out. Nick stops at the door, watching them. David gets the gurney into the ambulance.

Langston and a paramedic climb into the back, another paramedic climbs into the driver's seat, and they pull away. Nick turns and goes back inside.

INT. AMBULANCE - NIGHT

Langston watches the crowd through the back windows. They turn the corner and go a block before the driver turns on the lights and picks up speed.

LANGSTON  
They're gone, Mason. You can open  
the bag now.

She unzips the bag and they push it off her. She looks at both of them, then toward the front of the ambulance. The paramedic begins prepping her arm for an I.V.

MASON  
Nick?

LANGSTON  
He's back at the house. I--

She looks at Langston, her eyes widening.

MASON  
I want Nick.

LANGSTON  
Mason, he had to--

MASON  
I WANT NICK!

Langston reaches out to lay a hand on her shoulder and she panics. She tries to get off the gurney, reaching for the back door handle. The paramedic and Langston have to fight to get her back on the gurney and into restraints. By the time they do, she's crying and bleeding again.

MASON  
NICK!

Langston pulls his phone off his belt, moving into the passenger seat.

NICK (on phone)  
Stokes.

LANGSTON  
Meet us at the hospital. She's out  
of control.

MASON  
I WANT NICK!

NICK (ON PHONE)  
I'm on my way.

Langston hangs up, looking back at her. She's still fighting the paramedic.

INT. 42 FORD P. DRIVE - GRAND HALL - NIGHT

Riley and Greg enter a house of chaos and noise. In the parlor are a dozen screaming children. They are siblings comprised of a set of twins, a set of quintuplets, and individuals. All the children are either screaming, or crying, or both.

Their frazzled **MOTHER** and nanny are trying to keep them calm while they talk to **OFFICER HALFRUNT**. Riley looks at Greg with an ornery smile.

GREG  
I don't do kids.

She smiles.

RILEY  
Fine. I'll take the zoo. You take  
the d.b.

Riley heads into the parlor. Greg walks, with a slight limp, to the other end of the grand hall. David is kneeling next to the dead body of a man lying at the bottom of the stairs. The man's head lays at an odd angle. David looks up at him.

DAVID  
How's the butt cheek?

GREG  
Stow it.

DAVID  
Have you considered that the  
universe might be trying to tell  
you something?

GREG  
Didn't I just say stow it?

DAVID  
Won't that make it hard for me to  
tell you about the body?

Greg turns a dark glare on him.

GREG  
Hey, David, would you like me to  
let the air out of all your tires?

DAVID  
That's vandalizing city property.

Greg leans down, eye to eye.

GREG  
Did I say the meat wagon?

David frowns at him.

DAVID  
The way his head is angled, I'd  
venture to guess C.O.D. might be a  
broken neck.

Greg stands up.

GREG  
T.o.d.?

DAVID  
Haven't gotten that far. I got here  
five minutes before you two.

Greg looks at the stairs. They are littered with toys.

**GREG'S POV - (RE-ENACTMENT)**

**The house is dark as the burglar exits the master bedroom and crosses to the stairs. He starts down them. Somewhere near the top, he steps on a toy. He flails for balance, but loses it and tumbles down the stairs. During the fall he breaks his neck and is killed instantly.**

BACK TO SCENE

GREG  
No ligature marks?

DAVID  
None.

Greg looks down at the body. He notices the man's pocket bulging.

GREG  
What's in his pocket?

David pats the pocket, then reaches in and pulls out a wad of expensive jewelry.

DAVID  
Cat burglar maybe?

GREG  
Maybe.

Greg takes the jewelry from David and bags it before dropping kit. He pulls a small digital camera from his vest pocket and turns it on.

DAVID  
Why are you using that?

GREG  
The pickup broke mine.

David rests an arm on his knee.

DAVID  
Why are you even still here?

GREG  
Oh not you too!

DAVID  
I'm just saying...

Greg turns his dark glare back to David. He holds up his hands.

DAVID  
None of my business.

GREG  
That's right.

Behind him, a child starts screaming louder than the others are. He rolls his head trying to fight off a lurking headache before he starts photographing.

ERIC BARTLET (O.S.)  
That camera sucks.

Greg turns. Eight-year-old **ERIC BARTLET** stands behind him. He's wearing a karate uniform tied at the waist with a black belt with three white stripes on the ends.

GREG  
You're not supposed to be in here.  
Go back with the others.

ERIC BARTLET  
(defiant)  
You can't tell me what to do!

That resets Greg's anger.

GREG  
RILEY! A BRAT ESCAPED!

ERIC BARTLET  
You're mean.

GREG  
You're short. Now scram.

Behind him David pulls a watch from one of the dead man's pockets.

DAVID  
I have a watch. A very  
expensive one.

Eric and Greg both look up.

ERIC BARTLET  
That's my dad's! Give it to me!

The child moves towards David. Greg grabs his arm -- and the universe starts talking again. In one fluid motion the child spins and with a loud 'hi-ya,' lands a solid roundhouse kick into Greg's groin. He turns the other way, grabs Greg's arm and flips him onto his stomach.

DAVID (O.S.)  
OFFICER! RILEY! THE KID'S  
MOM! _SOMEBODY_!

The child lands a hand right between Greg's shoulder blades.

Riley runs out of the parlor as the child grabs a vase from a nearby stand and lifts it over Greg's head. The child's mother and Officer Halfrunt run into the hall behind him.

MOTHER (O.S.)  
ERIC NO!

Riley sprints toward the child. Eric looks up and drops the vase. Riley lunges to catch the vase but she's too late. Her fingers brush it as it flies past and crashes over Greg's head.

Riley falls against the child and grabs him instead. She rolls and pins Eric to the ground. Riley looks at Greg.

He is unconscious. A rivulet of blood trickles from where the vase cut him from temple to the middle of his forehead.

ERIC BARTLET  
Let me go! LET ME GO!

RILEY  
I have half a mind to arrest you  
brat! You just assaulted an officer.  
Do you know what the penalty for  
assaulting an officer is?

Eric struggles harder. Riley gets up, keeping a hold of the boy's arm. Eric tries to pull the same maneuvers on Riley but the CSI isn't caught off guard and grabs him into a bear hug to stop him. Eric's Mother rushes in and takes him from Riley.

She marches the child back to the parlor, scolding him the entire way.

MOTHER  
Eric! You are grounded from karate!  
I am not taking you to one more  
lesson or competition after tonight!  
You just wait until your father  
gets home!

OFFICER HALFRUNT  
(almost laughing)  
I'm going out to, uhm, radio for an  
ambulance. You, you keep an eye on the,  
uh, uhm, them until I get back.

Riley has to bite down on his lip to keep from laughing. He nods. Halfrunt goes out the door and she can hear Halfrunt howling with laughter. It fades away. Riley looks down at David. He's hunched over trying not to laugh. He looks up at Riley and lets it rip.

Riley walks over to Greg, patting his face.

RILEY  
Greg. Hey Greg.

He's out cold.

FADE OUT.

END OF ACT TWO


	4. Chapter 3

ACT THREE

FADE IN:

EXT. LAS VEGAS CITY (STOCK) - NIGHT

To establish. Focus on Sunrise Hospital.

INT. SUNRISE HOSPITAL - ER - EXAM ROOM A - NIGHT

Mason has been restrained to the bed. A nurse prepares a sedative.

**DOCTOR BAKER** is attending. She's an African-American around 40, looks good in a ponytail, knows her stuff and isn't afraid to confront a belligerent patient. She stands near the head, trying to reason with Mason.

Langston waits at the foot of the bed. He tries to catch Nick's arm as he pushes past Doctor Baker. Nick brushes him off. The nurse picks up the I.V. to inject the sedative.

NICK  
NO! Give me two minutes. Just  
two minutes.

Nick looks back at Doctor Baker. The woman hesitates but nods once. Nick leans over the railing, laying a hand on either side of Mason's face. She stops screaming but continues crying.

NICK  
I messed up again, didn't I?

MASON  
Yes, you jerk!

Nick smiles, even laughs a little.

NICK  
I deserved that and I'm sorry. I  
can probably convince them to take  
off these restraints, but you have  
to stay calm.

MASON  
Will you stay?

Nick nods. Mason nods back. Nick reaches down and unfastens the restraints around her wrists. Doctor Baker nods to the nurse and she unfastens the ankle restraints.

As soon as Mason is free, she throws her arms around his neck and cries against his chest. He sits down on the edge of the bed, whispering to calm her down. Doctor Baker and Langston leave the room.

INT. SUNRISE HOSPITAL - ER - NIGHT

Baker looks at the two before she starts talking.

DOCTOR BAKER  
Are they involved?

LANGSTON  
No. She was brutally raped and he's  
her security.

Doctor Baker looks at Langston. He's watching the two, and he doesn't look pleased.

DOCTOR BAKER  
Not a good thing?

Langston doesn't acknowledge the question.

LANGSTON  
We need an assault kit. The sooner  
the better.

DOCTOR BAKER  
Of course.

Langston leaves through one exit as paramedics come through another wheeling an unconscious Greg in on a gurney. They head toward Exam Room B.

DOCTOR BAKER  
Oh for the love of Pete! What is _he_  
doing back here?

The paramedics laugh. She tromps in after them.

INT. CSI - LAB - NIGHT

**HODGES** looks up when **WENDY** sets a plastic evidence bag next to his arm. He picks it up, looking at the hair in it.

HODGES  
Isn't this yours?

She leans on the counter.

WENDY  
Nope. It's not a hair. Don't know  
what it is, but it is definitely  
not a hair. So that becomes yours.

HODGES  
Giving up so soon? Won't it make  
becoming a CSI a little difficult?

WENDY  
No. Just challenging.

She turns to leave as Langston comes in loaded down with evidence. He's holding a case file in his teeth. Langston sets everything down on the middle counter, and slips into a lab coat. He begins sorting through the bags. The two look at each other.

HODGES  
Langston... Do you know you're in  
the trace lab?

LANGSTON  
I do.

HODGES  
My lab, so to speak.

Langston shoots him a look that effectively says: 'shut up.' Hodges exchanges another look with Wendy. She walks up to the counter and picks up a bag with hair in it.

WENDY  
Do you need this run for DNA?

LANGSTON  
We're backlogged, I'll run it.

HODGES  
Where's Nick? Wasn't he working a  
case with you?

LANGSTON  
He's still with the victim.

Langston pulls a bag of soil from the pile and starts to prepare a slide.

HODGES  
Is there something going on? I  
don't know when I last saw you  
processing trace.

LANGSTON  
I just have a lot of evidence to  
sort through and process as quickly  
as possible.

HODGES  
Why do you need it quick?

LANGSTON  
Because...

Langston puts the slide under a microscope and leans into it.

LANGSTON  
There is a DEA agent that is, as we  
speak, trying to get a court order  
to take all the evidence. So if I  
want to catch a violent rapist tonight,  
I have to find him and fast.

Wendy starts gathering all evidence for DNA. Langston looks at her.

LANGSTON  
Wendy, I said--

WENDY  
The hell if some DEA agent's going  
to screw up our case! I'll put  
these through as fast as I can.

LANGSTON  
We are backlogged. I can't ask you  
to do that.

WENDY  
You didn't. Ecklie can fire me if  
he wants.

Wendy leaves with the evidence. Hodges gets up and sorts out trace evidence.

HODGES  
I'll run all this. That'll leave  
the clothes and these other items  
for you. Besides, you're out of  
practice running trace. I can do  
this faster.

Langston doesn't disagree.

LANGSTON  
Thank you. I'll be over in the  
layout room.

Hodges nods, watching him rush out with the remaining evidence.

INT. SUNRISE HOSPITAL - ER - EXAM ROOM A - NIGHT

Nick sits in a chair close to Mason's bed. With on hand he holds her hand, with the other he rubs the inside of her arm and the only spot on her that isn't cut. She watches his hand as if entranced by the movement.

Doctor Baker walks up to the door, watching the two for a moment. She's carrying piece of paper.

DOCTOR BAKER  
Nick, can I talk to you?

He looks back and she motions him to follow. Nick stands and Mason looks into his eyes.

NICK  
I'll be right back. I won't be far, okay?

She nods. Nick reaches down and brushes hair from her eyes. He walks over to Doctor Baker.

INT. SUNRISE HOSPITAL - ER - NIGHT

DOCTOR BAKER  
I just got her MRI back and she's  
bleeding internally. We have to  
operate right away. If you want to  
get that assault kit, you need to  
convince her to do it now.

Doctor Baker hands him the papers. He takes them and fishes a business card from his breast pocket.

NICK  
Call me as soon as she's out  
of surgery.

Doctor Baker accepts it with a nod. Nick goes back into the exam room.

INT. SUNRISE HOSPITAL - ER - EXAM ROOM A - NIGHT

He leans on the bed.

NICK  
Mason, we need to collect the rape  
kit now. Doctor Baker said you have  
internal bleeding and they need to  
get you into surgery right away.

She stares at his face.

MASON  
You like catching bad guys,  
don't you?

NICK  
Yes.

She holds her hand out for the papers.

MASON  
I need a pen.

Nick pulls one from his pocket and grabs a magazine. He holds the papers for her so she can sign them. He sets them aside and then sits on the edge of the bed.

She slides her hand over up his thigh, resting it close to his hip. It's an intimate act that Nick doesn't pull away from it.

MASON  
Is your full name Nick or Nicholas?

NICK  
Nicholas.

MASON  
Where did you grow up?

NICK  
Austin.

MASON  
Texas?

NICK  
That's the one.

MASON  
What are your parent's names?

NICK  
Why all these questions?

MASON  
I'm asking all this so I can find  
you again someday.

NICK  
I'll be right there when you come  
out of surgery.

MASON  
You are so sweet.

**NURSE PAULA** comes in carrying a box.

NURSE PAULA  
Okay, Mason, I'm going to do the  
sexual assault kit now. Sir, could  
you step out?

Mason gives his leg a squeeze.

MASON  
It's okay. You can sit with me  
until they take me to surgery.

Nick stands up, catching her hand. They squeeze each other's hands and he steps out of the room.

INT. SUNRISE HOSPITAL - ER - NIGHT

He turns, watching her until the curtain hides her from view. Catherine passes behind him. They're so focused on their immediate problems, the two CSI don't notice one another.

INT. SUNRISE HOSPITAL - ER - EXAM ROOM B - NIGHT

The curtain opens as Catherine enters. Greg sits in a chair, leaning on the butt cheek that wasn't shot. Doctor Baker is stitching up the gash on his forehead.

CATHERINE  
A seven-year-old black belt  
attacked you?

GREG  
Supposedly Riley tried to stop the  
kid from dropping a vase on my head.  
I don't believe that.

Catherine walks up and lays her hand on his shoulder. She leans over, holding his eyes.

CATHERINE  
Greg. Go. Home. The universe does  
not want you in the field tonight.  
Go home.

DOCTOR BAKER  
I like her idea, Mister Sanders,  
because I'm tired of patching your  
scrawny butt up tonight.

GREG  
(biting)  
Is that doctor humor?

Doctor Baker is unaffected by his temper. She just smiles and chuckles. She stands up and picks up a prepared bandage from a tray. She tapes it on, intentionally pushing one end a little too hard.

GREG  
OW!

DOCTOR BAKER  
Do what your boss says, son.  
Go home.

GREG  
Just give me the release papers.

Doctor Baker gathers everything on a tray and heads for the door.

DOCTOR BAKER  
Cops, firefighters, and CSI just  
love pain.

Catherine crouches in front of him.

CATHERINE  
Look, Greg, I really want you to go  
home. You've been drug, almost hit,  
you've been shot and you have stitches  
in your head. Just give up and go  
home. Get some rest and tomorrow  
this will all be better.

GREG  
There's six hours still left in  
the shift.

CATHERINE  
You have sick days.

GREG  
We have another twenty calls left.

CATHERINE  
Yes. But--

GREG  
And you and Riley are going to  
handle those all by yourselves?

She stands, crossing her arms.

CATHERINE  
Riley and I haven't handled  
anything tonight because we keep  
taking you to the hospital. If  
anything, you're slowing us down.

GREG  
Then let's split up. Maybe you two  
are causing my bad luck.

The accusation truly offends Catherine.

CATHERINE  
We made all this happen to you?

GREG  
No! But I can't--

Nurse Paula comes in with the release papers.

NURSE PAULA  
Doctor Baker asked me to tell you  
to go home. She said being  
bullheaded isn't going to make the  
injuries any better. I agree with  
the doctor.

GREG  
I didn't ask for your opinion,  
Paula! Just give me the papers.

Nurse Paula is indifferent about his temper. She hands over the papers.

NURSE PAULA  
Okay. Sign the release papers --  
I'm sure you know what lines by  
now. Here's your prescription for Percocet. Don't drive or operate  
machinery when you take them. Don't  
take them with alcohol. And maybe  
take one before you head out, then  
you'll be asleep before you get  
injured again.

Greg glares at her. She smiles sweetly. The interaction makes Catherine chuckle. Greg stands and signs the papers, thrusting them back at her.

GREG  
Thank you.

NURSE PAULA  
Any time.

She steps back, motioning to the door. He and Catherine leave the room.

INT. SUNRISE HOSPITAL - ER - NIGHT

They don't see Nick. He's returned to Mason's room, watching as nurses prepare to take her out. Doctor Baker stands at the counter in the center of the ER finishing some paperwork. She looks up as the two pass.

DOCTOR BAKER  
We'll see you in an hour or so,  
right, Mister Sanders?

Several nurses and the other ER doctor laugh. Catherine works hard to resist it. Greg glares at Doctor Baker.

GREG  
No. You won't. Good night, Doctor.

DOCTOR BAKER  
Whatever you say, Sanders. Whatever  
you say.

Doctor Baker heads for Exam Room A. Greg notices Nick, but he walks away with Catherine.

GREG  
Stop laughing.

Catherine doesn't stop. As the sliding doors close behind them, Greg tells her:

GREG  
I hate everyone I work with.

She starts laughing harder.

INT. CSI - LAYOUT ROOM - NIGHT

Langston is processing Mason's robe and nightgown when Nick enters the room.

NICK (O.S.)  
Find anything yet?

He looks up when Nick stops next to him. Nick picks up a stack of photos, starting through them.

LANGSTON  
Why are you here?

NICK  
I work here.

LANGSTON  
No. I mean why aren't you at  
the hospital?

NICK  
Mason's in surgery. I dropped the  
assault kit off with Wendy so she  
should have something for me to  
work with here in a bit. Maybe  
we'll get lucky and something will  
hit in CODIS.

Langston doesn't respond. Nick looks up at him, staring back.

NICK  
What?

LANGSTON  
I don't think you should be working  
this case, Nick.

NICK  
Why?

LANGSTON  
I don't think you can remain  
objective.

NICK  
I can. Why don't you think I can?

LANGSTON  
You're too concerned about  
this woman.

NICK  
Naw. I can remain objective,  
Langston. The FBI and DEA don't just  
show up at just any old crime scene.  
This woman means something, and my  
gut tells me that we're going to  
have dig deep to find whoever did  
this to her and her boyfriend.

LANGSTON  
And what happens if the evidence  
leads to a reason for the assault?

NICK  
You mean what if it says she  
deserved to be raped and stabbed?

LANGSTON  
I mean, what if she's not as  
innocent as you believe?

NICK  
She's not innocent, Langston.  
There's a lot she's hiding. But  
none of that matters. She didn't  
deserve to get beat up and raped.  
No one does.

Langston studies his face. He's making a decision. Nick waits.

LANGSTON  
You will not conduct any  
interviews. I don't need you  
blowing this because you have  
feelings for this woman.

NICK  
I don't have feelings for her.

Langston turns back to the clothes he was examining.

LANGSTON  
My gut tells me you do.

Nick doesn't try to argue. He looks up when Wendy steps into the door.

WENDY  
I've got some results.

LANGSTON  
Go check them out, Nick.

Nick leaves with her.

INT. CSI - DNA LAB - NIGHT

Nick and Wendy stand at her computer. The results show up on the screen, and then print out. Nick grabs them.

NICK  
Two donors, both male. One's the  
boyfriend. Anything in CODIS?

WENDY  
It's still searching.

The screen populates.

WENDY  
Ricky Jackson.

Nick leans over her shoulder.

NICK  
No current address. Damn.

WENDY  
No. But look here.

She points at the screen. Nick grins.

NICK  
He was pulled over for speeding  
last week. Good job, Wendy.

Nick heads out to hunt down Ricky Jackson.

FADE OUT.

END OF ACT THREE


	5. Chapter 4

ACT FOUR

FADE IN:

EXT. NIGHT SKY - NIGHT

To establish. A comet glides just over the horizon. Racing up on Las Vegas, the city is a glowing oasis amid the desolate desert surroundings. Amid the city of sin stands the Heart of Gold Apartment Complex.

INT. HEART OF GOLD APARTMENT COMPLEX - NIGHT

Catherine stops the CSI vehicle outside the complex. Brass's car and a squad car are parked across the street. They walk to the front door where Brass waits for them.

INT. HEART OF GOLD APARTMENT COMPLEX - CORRIDOR - NIGHT

Brass leads them down the hall. **OFFICER HACTAR** stands guard at an open door down the hallway.

BRASS  
The neighbor in apartment  
forty-three said she heard a woman  
screaming. Called the manger. He  
called us. Tenant's name is Alice  
Magrathea. Age twenty-five. She  
lives alone and was placed here by  
New Life, the center for people  
with mental disabilities. Called  
them. She was supposed to report to  
work last night, but she wasn't  
outside when the bus stopped for her.

CATHERINE  
Is she on medication?

BRASS  
The list filled up five pages in my  
notebook. Where do you want me to start?

CATHERINE  
I'll look at it later.

They stop at open door of apartment 42, residence to **ALICE MAGRATHEA**. There's a short hallway leading into the apartment. On one side there is a coat closet with the door ajar. From the hall, they can blood splattered everywhere.

The two CSI set their kits down to pull on paper boots and gloves. Greg finishes first and takes a step to the door. He freezes. Catherine grabs her kit and walks up behind him, but he doesn't move.

CATHERINE  
Problem?

Greg turns to her.

GREG  
Why don't you go first?

She's suspicious.

CATHERINE  
Why can't you go first?

GREG  
Because if I go in first, I have  
bad luck. If I go last, I have bad  
luck. If I work with the suspect, I  
have bad luck. If I work with the  
dead person, I have bad luck. I'll  
be second, Brass will be last.

BRASS  
Who said I was going in?

Both ignore him.

CATHERINE  
Greg, it's just a crime scene. Go.

GREG  
(head shaking)  
Mm-mm.

CATHERINE  
Greg, we do not have time for  
this. Just go!

She's not convincing him to go first.

CATHERINE  
Oh for crying out loud! Fine!  
I'll go first.

Catherine walks in and Greg follows. Brass follows him.

INT. ALICE MAGRATHEA'S APARTMENT - NIGHT

BRASS  
And I'll go last, Greggo.  
Cover your ass in case someone  
starts shooting.

Catherine snorts, covering her mouth with her hand. Greg glares over his shoulder at Brass.

GREG  
I hate everyone I work with.

Brass just chuckles. They stop in the blood-covered living room, looking around.

CATHERINE  
All this blood and no victim.

She slowly looks up at Greg.

GREG  
What?

CATHERINE  
I was just wondering what room you  
wanted to start in. I'd hate to have  
you start with one that caused  
you bad luck.

Brass heads into the kitchen.

BRASS  
I'll go check out the pantry. Make  
sure there's no seven-year-old kung  
fu master hidden in it.

Their comments sever Greg's last thread of patience.

GREG  
Process the damn scene yourselves!

He starts for the door.

CATHERINE  
Greg. Greg! We were joking.  
Come on.

GREG  
I'm tired of people picking on me!

Catherine follows him.

CATHERINE  
Greg, we didn't mean anything by  
it. I'm sorry. I--

The hall closet door flies open, blocking Greg's path. From it springs Alice Magrathea. The deranged woman is covered with self inflicted cuts and her own blood. She's wielding a meat cleaver, swinging it menacingly as she leaps toward Greg.

Catherine drops her field kit and draws her gun.

CATHERINE  
STOP!

The scream brings Brass from the kitchen, sidearm drawn.

Greg drops his kit to throw up his hand in defense and the cleaver makes a deep cut through his palm, stopping shy of his wrist. Alice Magrathea stops moving but continues swinging the blade in front of Greg's face.

ALICE MAGRATHEA  
OUT SATAN! OUT! I COMMAND THEE OUT!

At first, Greg just stares at her. Then his face morphs into an angry snarl. His good hand balls into a fist and he clocks her so hard it knocks her unconscious. Catherine and Brass are stunned by his action.

Greg stares at her for a few seconds, unaware of the blood dripping from his hand. He looks at Catherine, till angry about everything.

GREG  
I QUIT!

He starts trembling and try as he might, he can't hold back his tears. The anger leaves a hurt little boy in its place.

GREG  
I QUIT! I QUIT! I QUIT!

She holsters her gun and walks up to him, laying her hand on his arm. She gently lifts his hand up above his heart.

GREG  
(whisper)  
I hurt everywhere now.

CATHERINE  
(motherly)  
I know. Let's go visit Doctor Baker  
again and have her patch you up. Okay?

He nods.

CATHERINE  
Brass, secure the scene and call  
Ecklie. Tell him we need swing to  
take over here.

BRASS  
Will do.

Greg and Catherine leave. Brass motions Officer Hactar to come in.

BRASS  
Handcuff her. And if anyone asks,  
she fell.

OFFICER HACTAR  
I hear that kid's had a pretty  
rough night.

Officer Hactar kneels next to Alice Magrathea and handcuffs her.

BRASS  
Yeah. He has. Maybe now he'll  
go home.

Officer Hactar carefully rolls her on her side. He looks up at Brass.

OFFICER HACTAR  
I would have gone home after  
being dragged behind a pick-up.  
He did pretty good toughing it  
out this long.

Brass looks down at him. He suddenly sees something no one else has all night.

BRASS  
He just likes catching bad guys  
too much.

OFFICER HACTAR  
Don't we all?

Brass nods.

EXT. 3 ACES MOTEL - NIGHT

Nick and Langston follow an officer up the stairs to room 420, and enter.

INT. 3 ACES MOTEL - ROOM 420 - NIGHT

A man lays dead on the bed from two obvious gunshots: one to the forehead, one to the chest. Blood has soaked into the bed. Langston veers off to talk to an officer, but Nick approaches the bed. The scene does not make him happy. Langston comes back to him.

LANGSTON  
The coroner is backed up. They  
won't be here for another hour.  
We'll start working the rest of  
the scene.

Nick doesn't respond.

LANGSTON  
Are you okay?

Nick shakes his head.

NICK  
I think someone killed this guy so  
he wouldn't talk.

LANGSTON  
About Mason?

NICK  
About what's really going on.

LANGSTON  
What do you mean?

NICK  
Langston, this entire case feels  
wrong. There is something a lot  
deeper and darker happening here.  
And Mason and this guy, they somehow  
play into that. Rapist or not,  
we have to find out who killed  
this guy.

Langston is proud to hear that.

LANGSTON  
Then we'd better get started before  
that DEA agent takes our case.

Nick nods. He walks over to a chair and opens his case.

INT. SUNRISE HOSPITAL - ER - EXAM ROOM B - NIGHT

Greg sits on the edge of the exam bed, holding his hand above his heart. It's been bandaged so his fingers are curled down, but blood has soaked through. All that is left of crying are puffy eyes and shaky breaths.

Catherine sits in the chair nearby, watching him. It doesn't appear they've talked since they arrived.

Doctor Baker walks through the curtain, carrying Greg's chart.

DOCTOR BAKER  
You must have thought I was missing  
you, Mister Sanders. You weren't  
even gone for an hour.

Greg thrusts his hand toward her. She sets his chart down on the bed and unwraps his hand, looking over the bleeding cut. She wraps it back up and pushes it up above his heart again. Doctor Baker leans her hip against the bed, locking eyes with him.

DOCTOR BAKER  
Can you feel your fingers?

GREG  
They're tingling.

DOCTOR BAKER  
Does it feel like you can  
move them?

GREG  
Not really.

DOCTOR BAKER  
I'm guessing that's going to take  
at least ten stitches. It'll hurt  
like hell without a local anesthesia.

GREG  
(huffy)  
So then get the stuff and fix it!

Doctor Baker smiles. Her experience with obstinate patients is about to shine through.

DOCTOR BAKER  
For you, Mister Sanders, anesthesia  
is going to come at a cost.

Catherine is surprised by the remark but it enrages Greg.

GREG  
This is doctor humor and I don't  
find it funny.

DOCTOR BAKER  
Mister Sanders, I'm quite serious.  
Here are my terms for giving you a  
local anesthesia. You will go home  
and you will stay home for no less  
than five days. And... if I see you  
back in this ER in the next five  
days as a CSI, injured on the job,  
I will call up whomever I have to  
in order to have you put in the  
psych ward for a two week pysch  
evaluation. I will tell that person  
that Greg Sanders clearly has lost  
his sanity, because even though the  
signs that he should have went home  
were covering his scrawny Caucasian  
body, he didn't!

Silence falls between the doctor and patient. They can hear the people in the next room. Someone rolls a cart past. People are talking two doors down, but their words aren't clear.

GREG  
That's unethical.

DOCTOR BAKER  
Those are my terms.

GREG  
Only my boss can approve time off.

CATHERINE  
Medical leave can be arranged.

DOCTOR BAKER  
Those are my terms.

GREG  
This hurts you know. It won't  
stop bleeding.

DOCTOR BAKER  
Those are my terms, Mister Sanders.

Greg stares at her for a moment. His hand hurts too much.

GREG  
Fine! This is blackmail, you know?

DOCTOR BAKER  
No, Mister Sanders, this is a  
grouchy old black woman making her  
young, obstinate, patient do what  
he should have done seven hours ago.

She smiles happily.

DOCTOR BAKER  
I'll be back in ten minutes.  
Sit tight.

Baker leaves. Catherine looks up at him.

CATHERINE  
She's just looking out for you.

GREG  
Go away.

CATHERINE  
Greg--

GREG  
I don't wanna talk about it.

CATHERINE  
I was just going to say--

GREG  
What part of I don't want to talk about it don't you get?

Catherine stands. She's not going to fight with him.

CATHERINE  
Well I can't leave. I have to  
photograph your injury before  
I can leave.

GREG  
(quieter)  
Fine.

Catherine walks over to the bed and sits down next to him. Slowly Greg leans over and lays his head on her shoulder. She really does feel bad for him and her motherly instincts kick in as she comforts him.

INT. CSI - LAB - NIGHT

Nick has a couple dozen fingerprints sitting next to the scanner. One scans, and a search for the print owner begins.

He looks over the top of the computer monitor. Langston is coming down the hall with Agent Scott, Agent Hopkins, and another FBI agent. Nick looks at the fingerprints. They walk around to the door and enter.

LANGSTON  
Nick.

Nick slowly turns, rising from his chair. He knows what he's about to be told. Behind him, the computer beeps and he glances back at the face on the screen. He sees several charges that normally would have him calling Brass for an arrest warrant.

LANGSTON  
We've been ordered to hand over all  
evidence on this case to the FBI. I  
need you to collect--

NICK  
No!

Nick points at Agent Hopkins before launching a verbal attack on her.

NICK  
You let her get hurt! You were  
supposed to be protecting her, and  
you didn't.

LANGSTON  
Nick, we have been ordered--

NICK  
The man we found in the hotel room was her rapist. His DNA matched  
her rape kit. Did you kill him?  
Did you know he was going after  
her like that?

AGENT HOPKINS  
We did not know he was going after  
her. And no, we did not kill him.  
We don't--

NICK  
I don't believe you. You stood by  
and did nothing while this happened.  
Why wasn't she wired? Shouldn't she  
have been wired?

AGENT HOPKINS  
This isn't your case anymore,  
Mister Stokes. Prepare your  
evidence and release it. Now.

NICK  
You can't tell me what to do.

LANGSTON  
Nick, gather your evidence and you  
will hand it over. Now.

NICK  
But, Langston--

LANGSTON  
Now, Nicholas!

Nick slowly nods. Langston leaves with the agents. Nick turns, grabs a file box, and angrily packs his files and evidence.

INT. GRISSOM'S OFFICE - DAY

Langston walks into his office and sits down at his desk. He starts working on files. He hears someone snort and mutter and looks up. There's no one in the hall. He's alone. He turns back to his work and hears muttering again.

He gets up and walks toward the door. He hears muttering and it's coming from behind. He walks around a metal shelf and stares. Greg is asleep on a gurney that has been wedged between the shelf and wall. He has his arms wrapped around a case file. Langston reaches down and shakes his leg.

LANGSTON  
Greg, wake up.

His arm flinches, but he doesn't wake up.

CATHERINE (O.S.)  
Let him sleep, Langston. He's had a  
rough night.

Langston turns, seeing her standing in the door. She holds a couple case files in her hands.

CATHERINE  
These need your signature. Which is  
your "done" pile?

LANGSTON  
Why is Greg sleeping in here? No.  
Why is he sleeping on the clock?  
Where did the gurney come from?  
Why does he look like he's been in  
a fight?

Catherine walks over to Langston's desk and sets the files in the middle. She heads for the door, motioning Langston to follow. The two go into the hall and she shuts his office door behind them.

INT. CSI - CORRIDOR - DAY

She turns to Langston.

CATHERINE  
Greg was hit by a pickup, drug  
twenty feet by his camera strap  
wrapped around his neck, shot in  
the butt, beat up by a kid, had a  
vase dropped on his head, and a  
deranged woman sliced open his hand.  
Ecklie put him on a week of medical  
leave four hours ago, so he's not  
on the clock. And he took a Percocet  
on the way back from the hospital,  
so I asked Robbins for a gurney so  
he could sleep until I was ready to  
go home. Any questions?

Langston looks through the windows. He can see Greg through the shelves.

LANGSTON  
I thought my night was bad.

CATHERINE  
My worst night dims in comparison.

LANGSTON  
Aren't you done for the day?

CATHERINE  
I couldn't wake him up. I  
have to wait.

LANGSTON  
I'll take him home. I have to stay  
for a meeting anyway.

CATHERINE  
Are you sure?

Langston nods. She digs a set of keys from her pocket and hands them over.

CATHERINE  
Thanks. I'll see you in a  
few hours.

Langston goes back into his office.

INT. GRISSOM'S OFFICE - DAY

He walks back to the gurney and pulls the case file from Greg's hold. He adjusts the blanket over him before returning to his desk.

He opens the file and finds it empty. That makes him chuckle as he goes back to work.

GREG  
(muttering)  
Ten matching epithelials...

Langston chuckles, but continues working.

INT. SUNRISE HOSPITAL - ER - DAY

Nick walks up to the admittance desk, smiling at Nurse Paula when she looks up. She returns it.

NURSE PAULA  
Hi, Nick.

NICK  
Hey. Has Mason Georges been moved  
to a room yet?

Nurse Paula's smiles fades.

NURSE PAULA  
Wait here, okay?

NICK  
Is she okay?

NURSE PAULA  
Just wait here.

Nurse Paula goes into an exam room and comes out with Doctor Baker. He follows Doctor Baker when she motions him. Near the exit, away from people, she hands him an envelope.

NICK  
What's this?

DOCTOR BAKER  
The FBI and a lawyer came an hour  
ago and took Mason. She left this  
for you.

Nick takes the envelope.

NICK  
Thanks.

Doctor Baker pats his arm as she walks away. Nick leaves the ER.

INT. NICK'S ESCALADE - DAY

Nick climbs into the front seat and opens the letter.

**INSERT - MASON'S LETTER**

**Nicholas, **

**I'm not a civilian. I'm FBI. I knew I was in over my head, but I stayed because I wanted to put away the bad guys. I know you of all people can understand that. I failed, and I have to leave Las Vegas now. You are so sweet. Don't ever lose that, Nick. It will always protect you.**

**Mason**

**BACK TO SCENE**

The letter hits Nick hard. He stares at the instrument panel, dazed.

FADE OUT.

THE END


End file.
